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A Motion Control Scheme for Animating Expressive Arm Movements

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A Motion Control Scheme for Animating Expressive Arm Movements University of Pennsylvania ScholarlyCommons IRCS Technical Reports Series Institute for Research in Cognitive Science January 1999 A Motion Control Scheme for Animating Expressive Arm Movements Diane M. Chi University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/ircs_reports Chi, Diane M., "A Motion Control Scheme for Animating Expressive Arm Movements" (1999). IRCS Technical Reports Series. 45. https://repository.upenn.edu/ircs_reports/45 University of Pennsylvania Institute for Research in Cognitive Science Technical Report No. IRCS-99-06. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/ircs_reports/45 For more information, please contact [email protected]. A Motion Control Scheme for Animating Expressive Arm Movements Abstract Current methods for figure animation involve a tradeoff between the level of realism captured in the movements and the ease of generating the animations. We introduce a motion control paradigm that circumvents this tradeoff-it provides the ability to generate a wide range of natural-looking movements with minimal user labor. Effort, which is one part of Rudolf Laban's system for observing and analyzing movement, describes the qualitative aspects of movement. Our motion control paradigm simplifies the generation of expressive movements by proceduralizing these qualitative aspects to hide the non-intuitive, quantitative aspects of movement. We build a model of Effort using a set of kinematic movement parameters that defines how a figure moves between goal keypoints. Our motion control scheme provides control through Effort's four dimensional system of textual descriptors, providing a level of control thus far missing from behavioral animation systems and offering novel specification and editing capabilities on opt of traditional keyframing and inverse kinematics methods. Since our Effort model is inexpensive computationally, Effort-based motion control systems can work in real-time. We demonstrate our motion control scheme by implementing EMOTE (Expressive MOTion Engine), a character animation module for expressive arm movements. EMOTE works with inverse kinematics to control the qualitative aspects of end-effector specified movements. The user specifies general movements by entering a sequence of goal positions for each hand. The user then expresses the essence of the movement by adjusting sliders for the Effort motion factors: Space, Weight, Time, and Flow. EMOTE produces a wide range of expressive movements, provides an easy-to-use interface (that is more intuitive than joint angle interpolation curves or physical parameters), features interactive editing, and real-time motion generation. Comments University of Pennsylvania Institute for Research in Cognitive Science Technical Report No. IRCS-99-06. This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/ircs_reports/45 A MOTION CONTROL SCHEME FOR ANIMATING EXPRESSIVE ARM MOVEMENTS DIANE M. CHI A DISSERTATION in COMPUTER AND INFORMATION SCIENCE Presented to the Faculties of the UniversityofPennsylvania in Partial Ful llment of the Requirements for the Degree of Do ctor of Philosophy. 1999 Norman I. Badler Sup erviser Jean Gallier Graduate Group Chair COPYRIGHT Diane M. Chi 1999 ABSTRACT A MOTION CONTROL SCHEME FOR ANIMATING EXPRESSIVE ARM MOVEMENTS Diane M. Chi Sup ervisor: Norman I. Badler Current metho ds for gure animation involve a tradeo between the level of realism captured in the movements and the ease of generating the animations. We intro duce a motion control paradigm that circumvents this tradeo |it provides the ability to generate a wide range of natural-lo oking movements with minimal user lab or. E ort, which is one part of Rudolf Laban's system for observing and analyzing movement, describ es the qualitative asp ects of movement. Our motion control paradigm simpli es the generation of expressive movements by pro ceduralizing these qualitative asp ects to hide the non-intuitive, quantitative asp ects of movement. We build a mo del of E ort using a set of kinematic movement parameters that de nes how a gure moves between goal keyp oints. Our motion control scheme provides control through E ort's four- dimensional system of textual descriptors, providing a level of control thus far missing from b ehavioral animation systems and o ering novel sp eci cation and editing capabilities on top of traditional keyframing and inverse kinematics metho ds. Since our E ort mo del is inexp ensive computationally, E ort-based motion control systems can work in real-time. We demonstrate our motion control scheme by implementing EMOTE Expressive MOTion Engine, a character animation mo dule for expressive arm movements. EMOTE works with inverse kinematics to control the qualitative asp ects of end-e ector sp eci ed movements. The user sp eci es general movements byentering a sequence of goal p ositions for each hand. The user then expresses the essence of the movement by adjusting sliders for the E ort motion factors: Space, Weight, Time, and Flow. EMOTE pro duces a wide range of expressive movements, provides an easy-to-use interface that is more intuitive than joint angle interp olation curves or physical parameters, features interactive editing, and real-time motion generation. iii Acknowledgements When I re ect on these past few years of graduate study, there are numerous p eople to whom I am grateful. Ab ove all, I am deeply indebted to my advisor Professor Norm Badler. Without his vision and inspiration, this work would never have b een imagined much less demonstrated. Norm has b een an ideal advisor|sensing when I needed direction or motivation, yet trusting me with indep endence and resp onsibility. I admire his intelligence, managerial abilities, and sel ess devotion to his students, and am grateful for his years of advice, guidance, and supp ort. I am also grateful to Janis Pforsich, who was instrumental in providing the LMA exp ertise for the pro ject. Her enthusiasm and willingness to explore the p otential of computer technology were true assets, and I appreciate her role as a teacher and a friend. My committee, Dr. Armin Bruderlin, Dr. Martha Palmer, Professor CJ Taylor, and Professor Dimitri Metaxas, deserves sp ecial thanks for reading my pap ers and providing insightful comments. Their varied p ersp ectives brought truly useful suggestions that strengthened the work and its presentation, and their interest in the pro ject was encouraging. Others that deserve thanks include: Deepak Tolani for providing the inverse kinematics co de; MikePan for his mo deling and video assistance, along with Mark Palatucci, for b eing guinea pigs for my user tests; Amy Matthews, Connie Co ok, and Janet Hamburg for their E ort mo del evaluations; Karen Carter for making the lab a pleasant place to work; Rama Bindiganavale and John Granieri for their lab software supp ort; Harold Sun and Christian Vogler for setting up the motion capture system; Professor Bonnie Webb er, Dr. John Clarke, and Dr. Yumi Iwasaki for their guidance in my earlier research work; Professors iv Mark Steedman and Jean Gallier for their work as graduate student advo cates; and Mike Felker for keeping the department running smo othly. I am also grateful to the National Physical Science Consortium and the Departmentof Defense at Fort Meade for supp orting my graduate studies and encouraging women and minorities to enter underrepresented elds of study. Thanks to my \dissertation supp ort group" | Omolola Ijeoma Ogunyemi and Sonu Chopra for o ering a listening ear, providing sound advice, and joining me on all those \stress-relieving" shopping trips and candy runs. I appreciate the many past and present memb ers of the graphics lab who were valuable colleagues and friends, including Vangelis Kokkevis, Ken Noble, Roxana Cantarovici, Charles Erignac, Bond-Jay Ting, Je Nimero , Barry Reich, and Jonathan Kaye. I'm also grateful for my friends David Brogan, Chrissy Benson, Alan Kuo, Jerome Strach, and Margie Wendling. I would like to thank David Jelinek for his input in various technical discussions, for lab oring through my pap ers and providing sometimes helpful comments, and for b eing my b est friend during the last few years. I am constantly reminded of how lucky I am to have such a wonderful family. Marie and Mikehave b een the b est siblings a little sister could ask for|from the childho o d antics through the transition into adults, they have shared and shap ed the imp ortant moments of my life. Their unconditional supp ort means a lot to me. I also appreciate my brother- in-law Darrell for b eing my nancial, hardware, and home repair advisor. My nephews Je rey and Kevin are constant sources of fun, humor, and entertainment, reminding me o the truly imp ortant things in life. Thanks are due to Auntie Alice, my California relatives, and the close family friends who \adopted" me while I was away from home. I want to express my utmost resp ect and admiration for my father and my mother. They are my role mo dels. My father built a successful career, starting out with little supp ort and a lot of determination. He has also shown me that age is of no matter|one can always be young at heart. My mother is the most dedicated and generous p erson I know. I admire her uncomplaining sacri ces and her ability to provide practical advice even in the face of crisis. I thank them for their un agging supp ort and guidance, and I dedicate this work to them. v Contents Acknowledgements iv 1 Intro duction 1 1.1 Our Approach. 2 1.2 Motivation . 3 2 Related Work 5 2.1 Motion Control . 5 2.2 ExpressiveMovement . 9 2.3 Biomechanics . 12 2.4 Computers and Dance Notation . 13 3 Background 15 3.1 Nonverbal Communication . 16 3.2 Laban Movement Analysis .
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